The Aesthetics and Politics of Cinematic Pedestrianism
The Aesthetics and Politics of Cinematic Pedestrianism
Walking in Films
€ 113,00 excl. BTW
Aantal pagina's
15.6 x 23.4 cm
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eBook PDF - € 112,99
Toon inhoudsopgaveVerberg inhoudsopgave
Introduction: Cinematic Pedestrianism in the City
CHAPTER TWO – The Flâneur as Filmmaker
CHAPTER THREE – The Flâneuse and the Aesthetics of the Female Gaze
CHAPTER FOUR – A Wandering Eye: The Kino-Pedestrian
CHAPTER FIVE – Walking amidst Ruins: A Pedestrian Cinema
CHAPTER SIX – Feminist Nomads: The Politics of Walking in Agnès Varda
Cinematic Pedestrianism Afoot: A Conclusion
Walking into the Future: Possible New Research Trajectories
Works Cited

Asli Özgen

The Aesthetics and Politics of Cinematic Pedestrianism

Walking in Films

De onderstaande tekst is niet beschikbaar in het Nederlands en wordt in het Engels weergegeven.
The Aesthetics and Politics of Cinematic Pedestrianism: Walking in Films offers a rich exploration of the cinematic aesthetics that filmmakers devised to reflect the corporeal and affective experience of walking in the city. Drawing from literature in urban studies, film theory, and aesthetic philosophy, it is the first monograph to approach the history of cinema from the perspective of walking. A series of case studies providing nuanced analyses of widely referenced figures, such as the flaneur/flâneuse, vagabond, and nomad, reveal how filmmakers articulated their objection to repressive structures through depictions of walking: a common, everyday act yet transgressive, bold, and indomitable. Through the lens of Henri Lefebvre’s theory of space, Michel de Certeau’s concept of pedestrian acts, and Jacques Rancière’s treatment of the politics of aesthetics, Walking in Films traces how cinema evolved in conversation with the mobile body and the new images, styles, and techniques that emerged with it.
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Asli Özgen

Asli Özgen is film lecturer at the Media Studies, University of Amsterdam. She researches film historiography, with a particular interest in feminist and decolonial interventions, focusing on difficult pasts and contested film heritage.